Sympathetic Vibrations, etc

Take an electric guitar. Strum a chord, and hold the guitar
next to the amp. A positive feedback loop will be set up
between the pickups, strings and amp. As electric guitars aren't
designed to have resonatins sound boards, it's a fair bet the
sound is traveling through the air and into the strings. Of
course, you have to have the amp fairly loud, and hold the
guitar pretty close. It also works with a bass guitar, which is
acoustically unviable.

Come on, you all already knew this, didn't you?

About inharmonic timbres: does anyone have data on the
inhamonicity of a human singing voice? In as far as music is a
natural human behaviour, it's about singing and dancing.

Now, I've finished a MIDI file parser that does most of the things
that Brian McLaren asked for in TD906. I have lost a few digests
since, so I can't be sure someone hasn't done it already, but
mine can handle pitch bends as well, so there! I'll ftp it to
the site associated with this list once I've written some
documenation and tested it.

Graham

Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Sun, 2 Mar 1997 00:26 +0100
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA01725; Sun, 2 Mar 1997 00:26:02 +0100
Received: from ella.mills.edu by ns (smtpxd); id XA01717
Received: from by ella.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
id PAA27482; Sat, 1 Mar 1997 15:24:17 -0800
Date: Sat, 1 Mar 1997 15:24:17 -0800
Message-Id: <3332b824.109912318@kcbbs.gen.nz>
Errors-To: madole@mills.edu
Reply-To: tuning@ella.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@ella.mills.edu

From: PAULE

>Even if
>the figure were to have originated in a just or meantone environment
>(approximating /6:/5:/4) - and its obiquity in the lute repertoire speaks
>against this - the adoption into other tuning systems would have meant that
>the figure was frequently heard without the psychoacoustic effect that you
>claim.

The psychoacoustic effect I claim? Do I sense another deliberate
misunderstanding? What I claimed was that the minor triad was not considered
stable enough to serve as a final chord until its tuning became standardized
near 16:19:24. The major triad is still more stable in any tuning, so the
picardy third is appropriate in any tuning. My claim is that ending a
_tonal_ piece of music with a long, sustained minor tonic chord did not
become a convincing compositional gesture until composers heard 16:19:24
minor triads. Note that a Pythagorean minor triad is just as good as a
12-equal one for approximating 16:19:24, so there is no need to enter the
debate about well-temperament vs. equal temperament.

>the figure ['s] archaicizing
>quality was already well established in the late meantone repertoire (hence
>Rousseau's label identifying the figure with gothic Picardie).

Well, if the historical evidence proves me wrong, so be it, but my ears tell
me quite clearly which note is the root of a 19:16 interval, while a 6:5
interval has a different effect. Minor tonics tuned to just 10:12:15 or
meantone just don't work for me, while ET or Pythagorean minor tonics work
fine.

Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Mon, 3 Mar 1997 21:53 +0100
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA03289; Mon, 3 Mar 1997 21:53:39 +0100
Received: from ella.mills.edu by ns (smtpxd); id XA03300
Received: from by ella.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
id MAA15784; Mon, 3 Mar 1997 12:50:06 -0800
Date: Mon, 3 Mar 1997 12:50:06 -0800
Message-Id: <009B0BA3FA068AFB.5883@vbv40.ezh.nl>
Errors-To: madole@mills.edu
Reply-To: tuning@ella.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@ella.mills.edu